Review by Booklist Review
Fans of culinary and especially catering cozies like those of Diane Mott Davidson should eat up the latest in the Faith Fairchild series. Like Davidson, Agatha Award-winning Page injects cooking lore and advice (and recipes at the back) into her conventional body-found-by-caterer plot. This latest Fairchild is further enlivened by intriguing information on art theft and art forgeries. A friend of Faith's is convinced that someone has forged a copy of a painting she has loaned to an exhibit. Then Faith stumbles across the body of a young woman (floating in a giant fish tank installation) at the gallery. Page has to work a bit to get Faith on scene for the investigation, since the local cops want nothing to do with her, but a temporary posting to the gallery café gives the intrepid sleuth all the opportunity she needs. A bit formulaic but worth it for the atmosphere, cooking, and art expertise.--Fletcher, Connie Copyright 2008 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Is it art or murder? In Page's savory 17th Faith Fairchild mystery (after 2006's The Body in the Ivy), the caterer/chef uncovers sinister doings at the Ganley Museum of Art in Aleford, Mass. When Faith's friend Patsy Avery, the president of the museum's board of trustees, asks her to investigate a potential forgery, Faith is reluctant to jump back into the detecting world. She finally agrees to open a cafe in the museum at Patsy's urging, but soon discovers a bald female corpse floating in a tank intended for an art installation. Faith's subsequent investigation reveals that the woman, who called herself "Tess Auchincloss," had a stolen Degas sketch stashed in her apartment. Joining forces with Det. Lt. John Dunne, Faith scrambles to solve the case even as the list of suspect grows and another murder occurs. Along with fun foodie details, Page provides an entertaining subplot involving Faith's rebellious teenage son, Ben. (May) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
When a corpse ends up as part of an art installation, caterer Fairchild is soon enmeshed in discovering the "artist" in Page's 17th culinary mystery. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
Forgeries and murder now on exhibit in a New England museum. Faith Fairchild, wife to minister Tom, mom to Ben and Amy, owner of Have Faith catering and amateur sleuth in picturesque, old-moneyed Aleford, a suburb of Boston, agrees to take over the Ganley Art Museum caf. Between courses, she'll help her chum Patsy, a board trustee, discover who replaced the Romare Bearden painting with a copy. First, however, Faith, cleaning up after the catered opening of a controversial exhibition--a tiny goldfish swimming in a tank of water--finds the nude body of a bald girl floating in the tank. Who is she? No one admits to knowing her, although one member of the board wanted to marry her and several museum instructors used her as a model. Two out-of-the-blue calls to the cops identify her low-class midwestern origins--a far cry from the wealthy, artistic identity she fashioned for herself. Meanwhile, young Ben is causing problems at home and at school; Tom is fretting that Faith has become an absentee mom; and Faith, who saw no reason to tell the police about the forgeries, now realizes they may be connected to the murders. It'll be many restorative coffee and cookie breaks later before Aleford residents can feel secure in their upper-class bubble once again. Like all the Fairchild mysteries (The Body in the Ivy, 2006, etc.), this one is stronger on domesticity and culinary skills than on criminal behavior. The undemanding fare includes five recipes. Copyright ©Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.